Once Upon A December
by MissOperaGhost
Summary: Dancing bears, Painted wings, Things I almost remember, And a song someone sings Once upon a December. ...Someone holds me safe and warm. Horses prance through a silver storm gures dancing gracefully Across my memory... And that's how Anastasia journey brings her to her lover and savior.
1. Prologue

MARIE (OS): But we would never be together in Paris. For a dark shadow had descended upon the house of the Romanovs. His name was Rasputin. We thought he was a Holy Man. But he was a fraud, power-mad and dangerous.

(Rasputin has reached the Czar, who alone stands firm before him. BARTOK, the bat, is perched on Rasputin's shoulder like a twisted parody of a parrot.)

NICHOLAS: How dare you return to the palace.

RASPUTIN: But I am your confidante

NICHOLAS: Confidante, Ha, you are a traitor. Get out!

RASPUTIN (CONT'D) (to Nicholas): You think you can banish the Great Rasputin? By the unholy powers vested in me. I who will banish you with a curse.

ANASTASIA: GASP!

YOUNG Erik: GASP!

MARIE: GASP!

RASPUTIN (CONT'D) (to Nicholas):... mark my words. You and your family will die within the fortnight. I will not rest until I see the END OF THE ROMONOV LINE FOREVER.

(He raises the RELIQUARY, sending a bolt of lightning to the Chandelier which crashes to the floor. When light is restored, Rasputin is gone.)

(RASPUTIN (FLASHBACK) Rasputin, kneeling in a sorcerer's circle, cowers as a huge, shadowy figure appears above him.)

MARIE (0S): Consumed by his hatred for Nicholas and his family, Rasputin sold his soul for the power to destroy them.

(Rasputin raises his arms in supplication. A shadow, like smoke in a windstorm, leaves Rasputin, sucked toward the terrible figure. As his soul leaves him, he BECOMES A SKELETON! Then the RELIQUARY materializes in mid-air before Rasputin's skeleton. It reaches out, grasps it, and Rasputin RESUMES HIS FORM. We PULL IN CLOSE on the Reliquary in his hand.)

X-DISSOLVE TO:  
THE RELIQUARY in Rasputin's hand

PULL BACK to reveal.  
EXT. RASPUTIN AT THE PALACE GATES – NIGHT

(He holds the Reliquary aloft. The locked gates hold back the crowd of demonstrators.)

RASPUTIN (to Reliquary): Go fulfill your dark purpose, and seal the fate of the Czar and his family once and for all.

(SMOKE wisps from the top of the Reliquary, assuming the form of Rasputin's MINIONS. The Minions attack the chain holding the gate shut, breaking it, letting the demonstrators pour into the palace.)

MARIE (OS): From that moment oft the spark of unhappiness in our country was fanned into a flame that would soon destroy our lives forever.

(A BRICK smashes the glass window of the palace. Crowd with rifles storming the palace grounds.)

INT. PALACE

(ROMONOV FAMILY in nightclothes, running down a hallway.)

NICHOLAS: Hurry children!

ANASTASIA: My music box!

(Marie tries to stop her from running back down the hallway to get it - but can't. She follows her.)

INT.

MARIE: Anastasia! Come back, come back! Anastasia!

ANASTASIA'S BEDROOM

(Anastasia grabs her music box as Marie rushes in. SHOTS are heard. Dimitri bursts in from wall panel.)

BARTOK: GRUNT (on impact of landing on window sill)

MARIE: Please hurry!

DIMITRI: Come this way, out the servants quarters.

(LOUD RIFLE)

MARIE: Hurry Anastasia!

(Marie enters the secret doorway. Dimitri shoves Anastasia in behind her, accidentally knocking THE MUSIC BOX OUT OF HER HAND.)

BARTOK: Rasputin, she's getting away.

ANASTASIA: My music box.

(Alarmed Bartok watches Anastasia escape.)

Young Erik: Go, go!

(He pushes her through as ANGRY REVOLUTIONARIES BURST IN the door. He slams the panel shut and puts his body in front of it.)

QUICK CUT TO:

(Bartok, seeing Anastasia and Marie escape, flies off looking for Rasputin.)

GUARD: Comrades, in here.

(A HUGE REVOLUTIONARY approaches Dmitri and slaps him hard.)

GUARD: Where are they boy?

(The guard knocks him to the floor with the butt of his rifle. Young Erik, chin bleeding and on the floor, reaches unnoticed for Anastasia's music box.)

Young Erik: Uh, ah (Moans).

EXT.  
FROZEN RIVER

(With the palace in FLAMES behind them, Marie is running with Anastasia across the ice. it is very cold, the women are not dressed for it. They pass under a bridge.)

ANASTASIA: Grandmama!

MARIE (OS): Keep up with me, darling!

(The little girl looks behind her and gasps.)

(ANGLE on Rasputin, leaping down upon them from atop the bridge, landing hard on the ice, grabs a hold of Anastasia's ankle and won't let go.)

RASPUTIN: Yaeee

ANASTASIA: Aah! !

RASPUTIN: ... ya..ha..

(Marie sees the evil holy man.)

MARIE: Rasputin!

ANASTASIA: Let me go, please!

RASPUTIN: (thrashing in the water) You'll never escape me, child, NEVER!

ANASTASIA: Oh, let me go!

(The ice breaks beneath him and he falls into the river. Anastasia wrenches herself free, and sees Rasputin thrashing about in the water. He's going down, and they lock eyes for a moment, his glowing, hypnotic eyes full of rage and fury. He calls out to the Bat.)

RASPUTIN: Bartok!

BARTOK: Master!

RASPUTIN: Bartok!

BARTOK: Oh ...

(Anastasia breaks the gaze and runs away.)

(Rasputin's fingernails - digging into the ice, can't find purchase. He is slowly dragged under. One last desperate reach out of the water, and Rasputin is sucked under by the current.)

(ANGLE on Reliquary - All that's left of Rasputin, rolling away from the hole in the ice. Bartok swoops down, scooping it up, and disappears into the black night.)

EXT.  
TRAIN STATION – NIGHT

(MASS CONFUSION as people shove to get on the train. Marie and Anastasia race to get on, fighting their way through the frightened crowd.)

MARIE: Anastasia hurry, hurry!

(PASSENGERS pull Marie on board the train and Anastasia is running to catch up.)

ANASTASIA: Grandmama!

MARIE: Here take my hand. Hold on to my hand!

(Anastasia reaches up and takes Marie's hand. She is desperate, frightened.)

ANASTASIA: Don't let go!

(CLOSE on the TWO HANDS, then suddenly, her small hand slips from Marie's grasp and falls out of the frame.)

MARIE (OS): AH ... ANASTASIA!

(Anastasia has stumbled, hitting her head on the ground)

ANASTASIA: AH ...

MARIE: ANASTASIA!

(Marie tries to jump off the train, but is held back by the OTHER PASSENGERS. She watches as the view of her granddaughter is obscured by a sea of humanity disappearing in the distance.)

MARIE (OS): So many lives were destroyed that night. What had always been was now gone forever.  
And my Anastasia, my beloved grandchild ... I never saw her again.

CUT TO:  
EXT. STREETS OF ST. PETERSBURG - TEN YEARS LATER

(People wait in long lines in a gray, cold winter.)


	2. Chapter 1: Hannibal

ACT 1 Scene 1 REHEARSALS FOR "HANNIBAL" BY CHALUMEAU

(We have reached the great choral scene in which HANNIBAL and his army return to save Carthage from the Roman invasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen of Carthage (his mistress) is CARLOTTA GUIDICELLI. The two leading SLAVE GIRLS are played by ANASTASIA and CHRISTINE DAAE. MME. GIRY is the ballet mistress. M. REYER, the repetiteur, is in charge.

We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She is alone, holding a pre. from the approaching HANNIBAL, a bleeding severed head)

CARLOTTA (at the climax of an extravagant cade) This trophy from our saviours, from the enslaving force of Rome!

(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing parts of the scenery)

GIRLS' CHORUS With feasting and dancing and song, tonight in celebration we greet the victorious throng, returned to bring salvation!

MEN'S CHORUS The trumpets of Carthage resound ! Hear, Romans, now and tremble! Hark to our step on the ground!

ALL Hear the drums -Hannibal comes!

(PIANGI enters, as HANNIBAL)

PIANGI (HANNIBAL) Sad to return to find the land we love threatened once more by Roma's far-reaching grasp.

REYER (interrupting him) Signor .if you please: "Rome". We say "Rome' not "Roma"

PIANGI Si, si, Rome, not Roma. Is very hard for me. (practising) Rome. Rome.

(Enter LEFEVRE, the retiring manager of the Opera, with M. FIRMIN and M. ANDRE, to whom he has just sold it)

REYER (to PIANGI) Once again, then, if you please, Signor: "Sad to return."

LEFEVRE (to ANDRE and FIRMIN) This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production of Chalumeau's "Hannibal".

(seeing a hiatus in the rehearsal, LEFEVRE attempts to attract attention.)

LEFEVRE Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. Firmin.

(the new managers are politely bowing, when REYER interrupts)

REYER I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting a moment?

LEFEVRE My apologies, M. Reyer. Proceed, proceed.

REYER Thank you, monsieur (turning back to PIANGI). "Sad to return." Signor.

LEFEVRE (sotto voce to ANDRE and FIRMIN) M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid.

(the rehearsal continues)

PIANGI (HANNIBAL) Sad to return to find the land we love threatened once more by Rome's far-reaching grasp. Tomorrow we shall break the chains of Rome. Tonight, rejoice -your army has come home.

(BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching the ballet. They are in the way. The ballet continues under the following dialogue.)

LEFEVRE (indicating PIANGI) Signor Piangi, our principal tenor. He does play so opposite La Carlotta.

GIRY (exasperated by their presence, bangs her cane angrily on the stage) Gentlemen, please! If you would kindly move to one side?

LEFEVRE My apologies, Mme. Giry. (leading ANDRE and FIRMIN aside) Mme. Giry, our ballet mistress. I don't mind confessing, M. Firmin, I shan't be sorry to be rid of the whole blessed business.

FIRMIN I keep asking you, monsieur, why exactly are you retiring?

LEFEVRE (ignoring this, calls his attention to the continuing ballet) We take a particular pride here in the excellence of our ballets.

(MEG becomes prominent among the dancers)

ANDRE Who's that girl, Lefevre?

LEFEVRE Her? Christine Daae, Madame Giry's adoptive daughter. Promising dancer, M. Andre, most promising.

(Anastasia becomes prominent. She has absent-mlndedly fallen out-of-step)

GIRY (spotting her, bangs her cane again) You! ANASTASIA! Concentrate, girl!

Christine Daae (quietly, to Anastasia) 's the matter?

FIRMIN (to LEFEVRE) ROMONOV? Curious name.

LEFEVRE Russian.

ANDRE Any relation to the King ROMONOV?

LEFEVRE His daughter, I believe. Always has her head in the clouds, I'm afraid. But she's dead.

ANDRE: Apparently She's not LEFEVRE.

(The ballet continues to its climax and ends. The CHORUS resumes)

CHORUS Bid welcome to Hannibal's guests the elephants of Carthage! As guides on our conquering quests, Dido sends Hannibal's friends!

(the ELEPHANT, a life-sized mechanical replica, enters. PIANGI is lifted, in triumph, onto its back)

CARLOTTA (ELISSA) Once more to my welcoming arms my love returns in splendour!

PIANGI (HANNIBAL) Once more to those sweetest of charms my heart and soul surrender!

CHORUS The trumpeting elephants sound hear, Romans, now and tremble! Hark to their step on the ground hear the drums! Hannibal comes!

(At the end of the chorus LEFEVRE claps his hands for silence. The elephant is led off. Two stage-hands are revealed operating it from within)

LEFEVRE Ladies and gentlemen-Madame Giry, thank you-may I have your attention, please? As you know, for some weeks there have been rumours of my Imminent retirement. I can now tell you that these were all true and it is my pleasure to introduce to you the two gentlemen who now own the Opera Populaire, M. Richard Firmin and M. Gilles Andre.

(Polite applause. Some bowing. CARLOTTA makes her presence felt)

Gentlemen, Signora Carlotta Giudicelli, our leading soprano for five seasons now.

ANDRE Of course, of course. I have experienced all your greatest roles, Signora.

LEFEVRE And Signor Ubaldo Piangi.

FIRMIN An honour, Signor.

ANDRE If I remember rightly, Elissa has a rather fine aria in Act Three of "Hannibal". I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition? (Somewhat acerbic). Unless, of course, M. Reyer objects.

CARLOTTA My manager commands. M. Reyer?

REYER My diva commands. Will two bars be sufficient introduction?

FIRMIN Two bars will be quite sufficient

REYER (ensuring that CARLOTTA is ready) Signora?

CARLOTTA Maestro.

(The introduction is played on the piano)

CARLOTTA Think of me, think of me fondly, when we've said goodbye. Remember me once in a while please promise me you'll try. When you find that, once again, you long to take your heart.

(As CARLOTTA is singing a backdrop crashes to the floor cutting her off from half the cast)

Christine/BALLET GIRLS/CHORUS He's here: the Phantom of the Opera. He is with us. It's the ghost.

PIANGI (looking up, furiously) You idiots!

(He rushes over to CARLOTTA) Cara! Cara! Are you hurt?

LEFEVRE Signora! Are you all right? Buquet! Where is Buquet ?

PIANGI Is no one concerned for our prima donna?

LEFEVRE Get that man down here ! (to ANDRE and FIRMIN) Chief of the flies. He's responsible for this.

(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET, holding a length of rope, which looks almost like a noose)

LEFEVRE Buquet! For God's sake, man, what's going on up there?

BUQUET Please monsieur don't look at me: as God's my witness, I was not at my post.

Please monsieur there's no one there: and if there is, wellthen, it must be a ghost.

Christine (looking up) He's there; the Phantom of the Opera.

ANDRE Good heavens! Will you show a little courtesy?

FIRMIN (to Christine and the OTHERS) Mademoiselle, please!

ANDRE (to CARLOTTA) These things do happen.

CARLOTTA Si! These things do happen! Well, until you stop these things happening, this thing does not happen!

Ubaldo! Andiamo! (PIANGI dutifully fetches her furs from the wings)

PIANGI Amateurs !

LEFEVRE I don't think there's much more to assist you, gentlemen. Good luck. If you need me, I shall be in Frankfurt .

(He leaves. The COMPANY looks anxiously at the NEW MANAGERS)

ANDRE La Carlotta will be back.

GIRY You think so, messieurs? I have a message, sir, from the Opera Ghost.

(The GIRLS twitter and twirl in fear)

FIRMIN God in Heaven, you're all obsessed!

GIRY He merely welcomes you to his opera house and commands you to continue to leave Box Five empty for his use and reminds you that his salary is due.

FIRMIN His salary?

GIRY Monsieur Lefevre paid him twenty thousand francs a month. Perhaps you can afford more, with the Vicomte de Chagny as your patron.

(Reaction to this from the BALLET GIRLS. Anastasia takes hold of Christine nervously)

ANDRE (to GIRY) Madame, I had hoped to have made that announcement myself.

GIRY (to FIRMIN) Will the Vicomte be at the performance tonight, monsieur?

FIRMIN In our box.

ANDRE Madame, who is the understudy for this role?

REYER There is no understudy, monsieur -the production is new.

Christine Anastasia could sing it, sir.

FlRMIN The chorus girl ?

Christine (to FIRMIN) She's been taking lessons from a great teacher

ANDRE From whom ?

Anastasia (uneasily) I don't know, sir .

FIRMIN Oh, not you as well! (turning to ANDRE) Can you believe it? A full house -and we have to cancel !

GIRY Let her sing for you, monsieur. She has been well taught.

REYER (after a pause) From the beginning of the aria then, mam'selle.

Anastasia Think of me think of me fondly, when we've said goodbye. Remember me once in a while please promise me you'll try.

FIRMIN Andre, this is doing nothing for my nerves.


	3. Chapter 2: JOURNEY TO THE PAST

Anastasia Think of me think of me fondly, when we've said goodbye. Remember me once in a while please promise me you'll try.

Anastasia When you find that, once again, you long to take your heart back and be free if you ever find a moment, spare a thought for me 

(Transformation to the Gala. Anastasia is revealed in full costume) 

We never said our love was evergreen, or as unchanging as the sea but if you can still remember stop and think of me. 

Think of all the things we've shared and seen don't think about the things which might have been. 

Think of me, think of me waking, silent and resigned. 

Imagine me, trying too hard to put you from my mind. 

Recall those days look back on all those times, think of the things we'll never do there will never be a day, when I won't think of you. 

(Applause, bravos. Prominent among the bravos, those of the young RAOUL in the MANAGERS' box) 

RAOUL Can it be? Can it be Anastasia? Bravo! 

(he raises his opera-glasses) 

What a change! You're really not a bit the gawkish girl that once you were. 

(lowering his opera-glasses) 

She may not remember me, but I remember her. 

Anastasia We never said our love was evergreen, or as unchanging as the sea but please promise me, that sometimes you will think of me! 

Scene 2 AFTER THE GALA 

(The curtain closes upstage. BALLET GIRLS, from the wings gush around Anastasia who hands each a flower from her bouquet. REYER stiffly gives his approval) 

GIRY (to Anastasia) Yes, you did well. He will be pleased. (to the DANCERS) And you! You were a disgrace tonight! Such ronds de jambe! Such temps de cuisse! Here we rehearse. Now! (She emphasizes this with her cane. The BALLET GIRLS settle into rehearsal upstage, GlRY keeping time with her stick. Variations on this continue throughout the scene)

* * *

I walked out to the garden and looked at my necklace that was given to me and startes singing:"HEART, DON'T FAIL ME NOW. COURAGE, DON'T DESERT ME! DON'T TURN BACK, NOW THAT WE'RE HERE. PEOPLE ALWAYS SAY LIFE IS FULL OF CHOICES. " "NO ONE EVER MENTIONS FEAR! OR HOW THE WORLD CAN SEEK SO VAST. MOVING FORWARD... TO THE PAST..."

"SOMEWHERE DOWN THIS ROAD, I KNOW SOMEONE'S WAITING. YEARS OF DREAMS JUST CAN'T BE WRONG. ARMS WILL OPEN WIDE. I'LL BE SAFE AND WANTED, FINALLY HOME WHERE I BELONG."

"WELL, STARTING NOW, I'M LEARNING FAST ON THIS JOURNEY-TO THE PAST. HOME, LOVE, FAMILY THERE WAS ONCE A TIME I MUST HAVE HAD THEM, TOO. HOME, LOVE, FAMILY. I WILL NEVER BE COMPLETE UNTIL I FIND YOU ONE STEP AT A TIME. "

ONE HOPE, THEN ANOTHER. WHO KNOWS WHERE THIS ROAD MAY GO. BACK TO WHO I WAS. ON TO FIND MY FUTURE. THINGS MY HEART STILL NEEDS TO KNOW YES, LET THIS BE A SIGN! LET THIS ROAD BE MINE! LET IT LEAD ME TO MY PAST AND BRING ME HOME... AT LAST!


	4. Chapter 3: BARTOK

Roul & Christine: Anastasia come inside Now you'll freeze out here in the snow.

I turned around picking up the hems of my Victorian dress. "Coming." I shut the door without noticing a bat on the ledge Of the roof.

BARTOK: Anastasia. Yeah, just one problem there fella, Anastasia's dead. All the Romanovs are dead. They're dead, dead, dead, dead ...

(A Minion emerges from the Reliquary, hovering beside Bartok.)

BARTOK (CONT'D): (to Minion) ... Am I right my friend. I mean, how could that be Ana ... (realizing whom he's talking to)

BARTOK: Aah ... YAAAAGH!

(Minions pour forth from the Reliquary, eagerly reaching toward Anya but disappearing in a puff of smoke inches from their unearthly home..)

BARTOK: Oh, come on now. Am I supposed to believe that thing woke up after all these years just because some guy claims she's a Romanov?

(The Reliquary glows bright, shaking violently.)

BARTOK: (spooked) Okay! Okay! I get-the message! Enough already with glowing and the smoke people!

(He takes another look at Anya, far below.)

BARTOK: (amazed) If that things come back to life it must mean Anastasia's alive.

(The Reliquary takes off like a rocket, dragging Bartok with it' They dive straight-for the floor, Bartokcovers his eyes as he crashes through the floor.)

BARTOK: Whoah! ! !

(The Reliquary pulls him down into the icy water pulling him further and further down. He hits the bottom of the lake and is now in the soil under the water, continuing to do down.)

(He continues to go down further into the earth at a tremendous speed.)

BARTOK: Mayday, Mayday. Hey I ooh, ooh,,ooh, waah, ooh yuck, yuck, wow, help, oh,,oh, oh, oh, hot it,s hot, aah, oh oh ... wow ...

INT. RASPUTIN'S CHAMBER - THE NETHER WORLD

(Rasputin is crashing around, trashing stalactites, etc. when the Reliquary rockets Bartok into the underworld, slamming him intothe ground.)

BARTOK: - Oh boy. Ow. what. Ow! I tell you


End file.
